Midnight Sun

Midnight Sun

Oktobre has a preference for strong actorial presences.
A definite appetite for German expressionist theater, the raw characters of an Almodovar movie, strongly defined "Hitchcockian" emotions.
Yes, there is a cinematographic mood in the air, the lighting acts as if it were a camera.
We are aware of that one's breath while stealing that other's whispers.
Intimacy rules.
All of this presented in a large fresco.
Oktobre loves painting, colors.
The stage is clothed in three colors only. They alternate to impose an esthetic and a shifting impression: from white to red, and finally, black… Costumes, stage curtains and accessories. The play runs through these three colors or scales of colors, establishing an atmosphere of subtle or sudden fluctuations.
White for purity, red for passion, black for depth.

With the slight interventions of magic, the audience is in a permanent state of subtle hallucination.
Behaviors and relationships become unpredictable, a pleasant or disturbing nervousness takes hold of the audience as it witnesses this mascarade.
Appalling events have stupid repercussions and outcomes that rest on general indifference.
A seductive hell.

A grand frescoe emerges, in white, red and black, both amoral and gleeful.